The humanities in music concern the “spiritual element” in music and the principles of the systematic cognition and description of truths through the understanding.

The human mind is the substance through which the composer makes the music resound for the first time. And the mind, the physics of the mind, is the musical instrument through which the sound is generated.

At the same time, however, the mind is sound itself, the vibrating sound-substance in the form of the movement of waves on the surface of the mind; and the sounding composition is the changing vibration on the surface of the musical artist’s mind.

The gaining of knowledge, as we know it from the humanities is, according to the expositions in this text, an accomplishment of the self-awareness and is achieved by means of its main organ, the intellect.

On the other hand, however, music has also been described earlier as an empirical science, because the self, through the intellect, systematically surveys with the sense of hearing the music created on the level of the mind, and so experiences – as if from outside – the content of truth in the musical structure of the composition and ascertains its degree of musical mastership.

With reference to the basis of musical creativity, this empirical way of comprehending music could also be called “the comprehension of music through the natural sciences,” and the a priori way of comprehending music could also be called “the comprehension of music through the humanities,” because a priori music is created by the self, and empirically it is heard again by the self.